The Slip: The New York City Street That Changed American Art Forever
Review By Miriam Grotte-Jacobs
Immortalized by writers like Herman Melville and Walt Whitman, the Slip dates back to the seventeenth century, a liminal site between land and water that maintained, as Peiffer argues, an altogether distinct sensibility; a place apart from the rest of Manhattan that offered artistic alternatives to its inhabitants with major consequences for the trajectory of modernism and postmodernism in the United States. A counternarrative to accounts of the New York art world that center around Cedar Tavern and Max’s Kansas City, Peiffer offers a close reading of a different New York and the artistic community it enabled.
Mobilizing the Metropolis: How the Port Authority Built New York
Review by Elizabeth M. Marcello and Gail Radford
The New York City metropolitan area boasts an impressive infrastructural network that moves people, trains, motor vehicles, freight, ships, and airplanes. At the center of this network is the Port Authority of New York and New Jersey, the subject of Philip Mark Plotch and Jen Nelles’s Mobilizing the Metropolis, which they offer as a “reflective history” of this particular agency, but also as a series of “lessons” for other agencies around the country built on the public authority model.
A Pathfinder in the Village: Buffy Sainte-Marie on Building a Career in New York’s Folk Music Revival
By Christine Kelly
Even as the Village proved a less inclusive environment than its outward appearance suggested, Buffy Sainte-Marie effectively harnessed the resources available to her as an up-and-coming artist in the heart of the national folk scene in order to craft a stage persona that resisted gender and race-based stereotypes, garner and maintain creative and commercial success, and use her popularity to raise awareness of dire needs among Indigenous communities across North America in an era of racial reckoning and social change. By making the most of her time in New York – an experience marked by the artist’s fascination with the rock and rhythm and blues shows of 1950s Brooklyn as much as the Village performances of the 1960s folk era – cultivating allies among fellow artists, and supporting Indigenous causes, Buffy Sainte-Marie charted a rare path forward as an influential artist and activist whose story paints a complex portrait of New York’s folk revival and the creative influences, cultural locations, and power brokers that shaped it.
Walkers in the City: Jewish Street Photographers of Midcentury New York
Review by Daniel Morris
In an homage to a space and time that have passed, but that remain as traces in the vivid depictions on display in this handsome and informative volume, Moore offers a love letter to photographers who looked past ideological doctrine (worker strikes and political protests are set aside) to teach viewers and to remind themselves how to regard their fellow New Yorkers with the dignity of concerned attentiveness.
Solidarity Across the Americas: The Puerto Rican Nationalist Party and Anti-Imperialism
Review By Edgardo Meléndez
For Power, Puerto Rico’s colonial status greatly undermines the honesty of America’s “Good Neighbor” policy towards Latin American countries in the 1930s. She recounts the PRNP’s continued efforts to obtain support for its cause into the 1940s and argues that it was crucial in getting important sectors in several Latin American countries to challenge US policy towards the region.
Streets in Play: The Playstreets Photography of Katrina Thomas
By Rebekah Burgess and Mariana Mogilevich
Photographs of recreation programs like this one were commissioned to offer visual proof that, after four summers of nation-wide protest and violence, starting in Harlem and Bedford-Stuyvesant in 1964, the city was compensating for a long-term lack of investment in low-income, racially segregated neighborhoods…. A few of Thomas’ images were utilized for official purposes, reproduced in pamphlets to attract or to thank program sponsors, but her exceptional eye transcended the municipal task. Her lens recorded the city's sponsored activities as well as the more candid action at the edge of the frame. These captivating, impromptu images provide a rare perspective on a distressed urban landscape, privileging a child’s-eye view of the possibilities for play and delight.
Ono’s earliest performances took place in the Chambers Street Loft Series, which featured artists who had met in [John] Cage’s composition class at the New School. For this performance series, Ono conceived the idea of renting the loft of a hundred-year-old Italianate commercial building in Tribeca and paid the $50.50 monthly rent. Ono co-organized the series with the composer La Monte Young. Nonetheless, her works did not appear formally on the series program. And Ono found herself denied credit for her role in organizing and producing the series, which Young claimed as solely his own in the series invitations, programs, and oral history….Ono creatively responded to the challenge of her own noninclusion by staging dramatic guerilla performances.
Shirley Chisholm: Champion of Black Feminist Power Politics
Review by Michael Woodsworth
Chisholm entered Congress as a vocal opponent of the Vietnam War, a staunch defender of the Great Society, an advocate of expanded welfare benefits, and an unapologetic feminist. Despite her reputation as a “fiery idealist,” Curwood argues, she was also “ruthlessly pragmatic.” Chisholm was a coalition builder: she helped to found the Congressional Black Caucus as well as the National Women’s Political Caucus…. The 1972 presidential primary run remains Chisholm’s signature moment.… Chisholm may have been a transformational figure, but, as Curwood shows, she was also a product of her times. Her rise, accomplishments, and setbacks match, almost too perfectly, the arc of 20th-century American liberalism.
Musical Migration and Imperial New York: Early Cold War Scenes
Review by M. Syd Rosen
Musical Migration and Imperial New York contends that by understanding how experimental music was enlisted in the American imperial project—indeed, by examining how such music co-produced this project—we might better understand the complicated ways in which creative experimentation is entangled with questions of identity and institutional power. The author is well aware of the scale of her task, which investigates how “state ambitions on a planetary scale” resulted in experimental music operating as “a force field of US global prestige and power.”
During her life, some members of the public drew connections between her antisemitism and her fervent anti-Zionism. But Woloch is right to separate these developments--there were Jews who rejected Zionism and many non-Jewish anti-Zionists who were not antisemitic. Gildersleeve pointed to her affection for Arab people and nations as the root of her anti-Zionism. This affection was, to be sure, inflected with Orientalism and the desire of some Progressives to remake Arab nations in the Protestant image. Still, she saw in Zionism the makings of bitter conflict in the Middle East. …Gildersleeve was active in the American Friends of the Middle East, a CIA-funded organization designed to cultivate closer ties between the U.S. and Middle East Arab nations… Digging deep into her controversial positions on Jews and Zionism, Woloch explains how the pieces of Gildersleeve’s worldview fit together.
